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ending scene from wong kar wai's in the mood for love. tony leung's character approaches a cambodian monastery and whispers something into a hole in a wall - emulating a statement made earlier in the film:

"In the old days, if someone had a secret they didn’t want to share, they went up a mountain, found a tree, carved a hole in it, and whispered the secret into the hole. Then they covered it with mud and leave the secret there forever. "

how far from now this seems, in an endlessly regurgitating and recirculating matrix of communication, where past experiences revisit you again and again, without prompting. (i was shown pictures from a facebook post i made five years ago this morning)

a reproduction of this scene in the modern day might have the character entering his statement into a google search bar - a machine that also invites confessions - and leave it there, to "bury them in the infinite" (Renouard, 2016, pg. 223)

in the mood for love is set in the past already, and was made at a point in time where hong kong was being forced to reevaluate its history and genealogy as a nation, as it was being "handed over" to mainland china by britain. it specifically deals with personal memory and nostalgia with reference to a wider discourse of social change and political upheaval

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"With the internet - which fulfills to a supreme degree the externalization of memory first initiated by writing - we might get the feeling that we have simultaneously become capable of forgetting nothing and incapable of remembering anything a all" (Renouad, 2016) pg. 221

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"the logic of a social network - the outcome toward which its conception and operation tend - is that you share everything you are thinking or feeling at each instant. Not to share is not to feel" Renouard, 201, pg. 176

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for personal use:

"as I was walking alone in a place I found extraordinarily beautiful, I had a pang of regret that no one was there to share these aesthetic experiences with me. But I didn't regret my solitude; it was one of the conditions of the intensity of such moments. Rather, I would have wanted that impossible thing: solitude and, simultaneously, the immediate communication of what solitude made me witness" Renouard, 2016, pg. 144

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"today, images come one after another, devour each other, replace each other pitilessly, as if to outmatch the boundlessness of our desire"

Renouard, Mael, Fragments of an Infinite Memory: My Life with the Internet, trans. Peter Behrman de Sinéty (The New York Review of Books, 2016) pg. 133

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maps and accessing internet/social media with a phone aren't super comparable - networks exist, yes, but the deluge of images found in web based medias is totally different to physical reality and space

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"In the past, I only used to be able to concentrate at home, in silence and solitude. That's exactly what I have to get away from now if I was to have any hope of putting the hours of a day to good use; otherwise, I look up everything that crosses my mind on the internet; the brief distractions that normally punctuate a sustained effort take on outsize proportions; time slips through my fingers, and I watch myself waste the hours as I take outsize puffs of this opium."

Renouard, Mael, Fragments of an Infinite Memory: My Life with the Internet, trans. Peter Behrman de Sinéty (The New York Review of Books, 2016) pg. 44

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"The screen world (the world to which the screen gives access) appears as a spatialisation of the mind. The dream that the mind, as digital space, might gain control or physical space accompanies the experience of the internet like its shadow."

Renouard, Mael, Fragments of an Infinite Memory: My Life with the Internet, trans. Peter Behrman de Sinéty (The New York Review of Books, 2016) pg. 40

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"By uploading #feminist selfies onto Twitter and sharing them on Facebook and Instagram...participants seize valuable space for their body and image in what are today the most valuable dynamic environments of public culture."

I Click and Post and Breathe, Waiting for Others to See What I see' Fashion Theory, Volume 19, Issue 2, pp. 221-242, pg. 232

participating is about centering your own subjectivity within the context of digital "space"

my own experience is that i don't do this - i don't take and post selfies often, only on occasion

my journeys on participatory media are more passive, and my posts are largely related to my illustration work

but the social media accounts themselves are used by me and use me for endless scrolling

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"social media" or "participatory media" 

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"social media" or "participatory media" 

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as in Pham, Minh-Ha, 'I Click and Post and Breathe, Waiting for Others to See What I see' Fashion Theory, Volume 19, Issue 2, pp. 221-242, pg. 222

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"Berardi's argument is not that the dot.com crash caused depression, but the reverse: the crash was caused by the excessive strain put on people's nervous systems by new informational technologies.
Now, more than a decade after the dot.com crash and the density of data has massively increased. The paradigmatic labourer is now the call centre worker -- the banal cyborg, punished whenever they unplug from the communicative matrix"

Mark Fisher, 'Another Grey World: Darkstar, James Blake, Kanye West, Drake and 'Party Hauntology', Ghosts of my Life: Writings on Depression, Hauntology and Lost Futures, (Zero Books, 2014, p. 174)

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"Producing the new depends on certain kinds of withdrawal -- from, for instance, sociality as much as from pre-existing cultural forms -- but the currently dominant form of socially networked cyberspace, with its endless opportunities for micro-contact and its deluge of YouTube links, has made withdrawal more difficult than ever before. Or, as Simon Reynolds has pithily put it, in recent years, everyday life has sped up, but culture has slowed down"-

Mark Fisher, 'The Slow Cancellation of the Future', Ghosts of my Life: Writings on Depression, Hauntology and Lost Futures, (Zero Books, 2014, p. 16)

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"And why walk, if not to create a new set of possibilities? Following serendipity, I added new routes to the mental maps I had made from constant walking in that city from childhood to young adulthood, traced variations on the old pathways. Serendipity, a mentor once told me, is a secular way of speaking of grace; it’s unearned favor. Seen theologically, then, walking is an act of faith. Walking is, after all, interrupted falling. We see, we listen, we speak, and we trust that each step we take won’t be our last, but will lead us into a richer understanding of the self and the world."

Walking = miming

Garnette Cadogan, Walking While Black (Freeman's Issue 1, 29 Oct. 2015)